“A collection of profound and epic album reviews and musical articles by former astronaut and brain surgeon, Alasdair Kennedy. Reaching levels of poetry that rival Keats and Blake, the following reviews affirm Alasdair to be a prodigy, a genius and a god whose opinion is always objectively right. He is also without a doubt the most modest man in the universe.” - Alasdair Kennedy

Pages

Saturday, 11 February 2017

Review of 'I Decided' by Big Sean

The vanilla wafer of
the rap game is back with some flashy flows and cute bars about his momma. Is
this the exciting Big Sean we’ve all been waiting for – or more of the same?

Dark Sky Paradise,
the Detroit emcee’s last album, had some badass beats on it and glimpses of
endearing introspection, although was largely dragged down by corny bars and an
utter lack of originality. On this newest record, the hip hop artist has cut
out the corn and upped the soul. There are still some arrogant bangers in the
mix such as ‘Bounce Back’ and ‘Moves’, but most of it is personal
heart-to-heart stuff. If Dark Sky
Paradise offered a window into the life of Big Sean, this new record is
practically him opening the door and inviting us in for a drink.

Sharing with us his accomplishments and flaws, he manages to
stay likeable. You feel like a close friend of his once the album is done. And
you can’t help but feel proud for all he’s achieved as he humbly takes time to thank
his mum and fans as if accepting an Oscar.

But then a bitter sense of disappointment takes over when
you realise Big Sean has got to where he is by stealing the styles of every
other rapper – something he’s STILL doing on this album. He spends a great deal
of this album sounding like Drake (there are claims Drizzy bit his flow, but
you can’t honestly tell me those moany inflections and failed relationship themes
aren’t Drake-inspired?), whilst switching between Kanye, Future and Kendrick
impressions for the remainder.

That isn’t to say he’s not talented. His flows are
impressively versatile, delicately half-singing on tracks like ‘Same Time’
whilst picking up the tempo towards the end of ‘Voices In My Head/Stick To The
Plan’ (although the droned hook ‘stick to
the plaaan’ is one of the more embarrassing moments). He adjusts to each
beat like a Swiss army knife, unlike his improbable guest Eminem who’s choppy
flows ride the instrumental of ‘No Favors’ awkwardly like a greyhound on roller-skates.

Perhaps if Big Sean was to really work on it, he could use
his capacity for flows to create some wholly distinctive flows of his own and
make this his USP. He still feels like he’s jumping on trends at the moment,
and whilst this album gives us all a better idea of who he is, I still can’t
see where he fits into the grand scheme of things.